The movie isn't deep, or particularly intricate; it doesn't play all that much with the potential for mistaken identities, and the cruelty it depicts becomes repetitive or, worse still, desensitizing. But The Devil's Double does give us indelible images of Uday's decadence - the filmmakers say they're understated - and a double dip of dazzling acting.

Cowboys versus aliens is a concept that may make you smile in anticipation, but wipe that smile off your face before buying your ticket.

If you lop off the closing credits of Fred Cavayé's preposterously exciting - and pleasingly preposterous - French-language thriller, the running time is a mere 80 minutes. Not since "Run Lola Run" has the term been used more aptly.

Does the film add up to something more than a stunt? Maybe not. I was captivated by the several hours I recently saw of Christian Marclay's 24-hour-long "The Clock," a video mashup in which thousands of clips from hundred of movies contain watches and clocks telling the same time that spectators can read on their wrists. Life in a Day doesn't aspire to such intricacy, but it's fascinating all the same, an electronic update of Alexander Pope's maxim that the proper study of mankind is man.

This small-scale film has more outsize ideas than it could possibly manage. Yet Mike Cahill's debut feature exerts a gravitational pull out of proportion to its size through powerful performances, a lyrical spirit, a succession of arresting images and a depth of conviction that sweeps logic aside.

Once Captain America goes off to war in his endearingly silly suit, however, the movie starts to lose its vibe.

Ms. Scott Thomas is as intelligent and attractive as ever, but the synthetic world her character inhabits can't compete with a harrowing past that depicts French complicity in Nazi atrocities.

Part 2 of The Deathly Hallows, is the best possible end for the series that began a decade ago.

Errol Morris's documentary was made, and scheduled for release, long before the News of the World story broke. The smart part is that the film dissects those excesses deftly with a quasitabloid style of its own.

While the action flashes back and forth in increments of centuries, years or months, we're adrift in the here and now, trying to get a grip on the characters and their relationships, yet finding it loosened with every new dislocation.

This is a modest film, and an affecting one.

The movie transforms a dim idea - "Elmer Gantry" lite - into comedy that's dead in the water and as dull as it is broad.

For the most part, though, the real people - the movers and shakers of Nim's world - are there to speak for themselves in the present as well as the past, and the main ones are, with a conspicuous exception, a sorry, self-serving lot.

Stylistic debts abound: the Coen brothers, Roger Deakins, the bleak, gothic landscapes of Terrence Malick's "Badlands" and Richard Brooks's "In Cold Blood." Through it all, though, is the original and memorable spectacle of violence expressed and repressed by the desperate hero.

Horrible Bosses has preposterousness to burn, but no finesse and no interest in having any.

The results are startlingly original, if occasionally overambitious. This is "Tsotsi" without the feel-good glow, a tale of entrepreneurship's perils and boundless pleasures.

How much do I loathe this film? A lottico is putting it mildico.

Sharp-witted, sometimes surreal and largely autobiographical French-language comedy.

The movie has its own deficits - a lack of variety, originality, subtlety, clarity and plain old charm.

My heart was warmed by gratuitous moments when Mr. Carrey clowns for clowning's sake - in the best of them, he makes a slo-mo entrance to a press conference, even though the camera is running at normal speed.

This is hardly a film to recommend as entertainment. As an act of remembrance, though, it is singular and, in its way, soaring.

It keeps you fascinated, even enthralled; elicits astonishment, even wonderment, and makes you grateful for the chance to meet someone remarkable.

Green Lantern was meant to be a sci-fi adventure, but it proves to be a genuine mystery. How could its megamoola budget have yielded a production that looks almost as tacky as "Flash Gordon" (which had the good grace to deprecate itself at every turn)?

The Trip is probably too long, but I have to say "probably" because I would have been happy with an additional half-hour of Steve and Rob doing more impressions.

This new film isn't perfect, and may not be a world-changer, but it's certainly a world-pleaser.

The film's special mixture of sadness, comedy and hope sneaks up on you and stays in your memory.

Wonderfully funny and subversively affecting.

This prequel draws new energy from supersmart casting, plus the shrewd notion of setting the beginnings of the X-Men saga in the early 1960s.